As jazz spread around the world, it drew on different national, regional, and local musical cultures, which gave rise to many distinctive styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonicimprovisation. In the 1930s, heavily arranged dance-oriented swingbig bands, Kansas City jazz, a hard-swinging, bluesy, improvisational style and Gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines.

The 1950s saw the emergence of free jazz, which explored playing without regular meter, beat and formal structures, and in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues, gospel, and blues, especially in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay. Other styles and genres abound in the 2000s, such as Latin and Afro-Cuban jazz.

Etymology and definition

The question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a slang term dating back to 1860 meaning "pep, energy."[7] The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseballpitcher described a pitch which he called a jazz ball "because it wobbles and you simply can't do anything with it."[7]

The use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune.[8] Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands."[9] In an interview with NPR, musician Eubie Blake offered his recollections of the original slang connotations of the term, saying: "When Broadway picked it up, they called it 'J-A-Z-Z.' It wasn't called that. It was spelled 'J-A-S-S.' That was dirty, and if you knew what it was, you wouldn't say it in front of ladies."[10] The American Dialect Society named it the Word of the Twentieth Century.

Jazz has proved to be very difficult to define, since it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the 2010-era rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music. But critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader,[11] defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music"[12] and arguing that it differs from European music in that jazz has a "special relationship to time defined as 'swing'", involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician".[11] In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz."[13]

A broader definition that encompasses all of the radically different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, improvising, group interaction, developing an 'individual voice', and being open to different musical possibilities".[14] Krin Gibbard has provided an overview of the discussion on definitions, arguing that "jazz is a construct" that, while artificial, still is useful to designate "a number of musics with enough in common to be understood as part of a coherent tradition".[15] In contrast to the efforts of commentators and enthusiasts of certain types of jazz, who have argued for narrower definitions that exclude other types, the musicians themselves are often reluctant to define the music they play. As Duke Ellington, one of jazz's most famous figures, said: "It's all music".[16]

Elements and issues

Improvisation

Although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements. The centrality of improvisation in jazz is attributed to influential earlier forms of music: the early blues, a form of folk music which arose in part from the work songs and field hollers of the African-American slaves on plantations. These were commonly structured around a repetitive call-and-response pattern, but early blues was also highly improvisational. European classical music performance is evaluated by its fidelity to the musical score, with much less discretion over interpretation, ornamentation, and accompaniment: the classical performer's primary goal is to play a composition as it was written. In contrast, jazz is often characterized as the product of group creativity, interaction, and collaboration, which places varying degrees of value on the contributions of the composer (if there is one) and performers.[17] In jazz, the skilled performer will interpret a tune in very individual ways, never playing the same composition the same way twice; depending on the performer's mood and personal experience, interactions with other musicians, or even members of the audience, a jazz musician may alter melodies, harmonies or time signature at will.[18]

The approach to improvisation has developed enormously over the history of the music. In early New Orleans and Dixieland jazz, performers took turns playing the melody, while others improvised countermelodies. By the swing era, big bands were coming to rely more on arranged music: arrangements were either written or learned by ear and memorized, while individual soloists would improvise within these arrangements. Later, in bebop, the focus shifted back toward small groups and minimal arrangements; the melody would be stated briefly at the start and end of a piece, but the core of the performance would be the series of improvisations. Subsequent styles such as modal jazz abandoned the strict notion of a chord progression, allowing the individual musicians to improvise even more freely within the context of a given scale or mode. In many forms of jazz, a soloist is often supported by a rhythm section consisting of one or more chordal instruments (piano, guitar, etc.), double bass playing the basslines and drum kit. These performers provide accompaniment by playing chords and rhythms that outline the song structure and complement the soloist.[19] In avant-garde and free jazz idioms, the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales and rhythmic meters.

Tradition and race

Since at least the emergence of bebop, forms of jazz that are commercially oriented or influenced by popular music have been criticized by purists. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form".[14] Traditional jazz enthusiasts have dismissed bebop, free jazz, the 1970s jazz fusion era and much else as periods of debasement of the music and betrayals of the tradition. An alternative viewpoint is that jazz is able to absorb and transform influences from diverse musical styles,[20] and that, by avoiding the creation of 'norms', other newer, avant-garde forms of jazz will be free to emerge.[14]

To some African Americans, jazz has highlighted their contribution to American society and helped bring attention to black history and culture, but for others, the music and term "jazz" are reminders of "an oppressive and racist society and restrictions on their artistic visions".[21]Amiri Baraka argues that there is a distinct "white jazz" music genre expressive of whiteness.[22] White jazz musicians appeared in the early 1920s in the Midwestern United States, as well as other areas. Bix Beiderbecke was one of the most prominent white jazz musicians.[23] An influential style referred to as the Chicago School (or Chicago Style) was developed by white musicians including Bud Freeman, Jimmy McPartland. Frank Teschemacher, Dave Tough, and Eddie Condon. Others from Chicago such as Benny Goodman and Gene Krupa became leading members of big-band swing during the 1930s.[24] Some jazz bands were notable for their inclusion of both black and white musicians, and this refusal by some influential jazz musicians and promoters to countenance segregation contributed towards changing attitudes in the United States.[25]

When the men were drafted for WWII, many all-womenbig band jazz bands took over.[26]The International Sweethearts of Rhythm (founded 1937) was a well-known jazz group of this era, becoming the first all-women integrated band in the U.S., touring Europe in 1945 and becoming the first black women to travel with the USO. The dress codes of the era required women to wear strapless dresses and high-heeled shoes, which was somewhat of a hindrance to the integration of women into the big bands of suit-wearing men. Nevertheless, women were hired into many of the big-league big bands such as Woody Herman and Gerald Wilson.

History

Jazz originated in the late 19th to early 20th century as interpretations of American and European classical music entwined with African and slave folk songs and the influences of West African culture.[27] Its composition and style have changed many times throughout the years with each performer's personal interpretation and improvisation, which is also one of the greatest appeals of the genre.[28]

Dance in Congo Square in the late 1700s, artist's conception by E. W. Kemble from a century later.

[32]Accounts say that they were "making strange music on an equally strange variety of 'instruments'- washboards, washtubs, jugs/ a dry goods box beaten with sticks or bones made by stretching skin over a flour barrel".

In the late 18th-century painting The Old Plantation, African-Americans dance to banjo and percussion.

Lavish festivals featuring African-based dances to drums were organized on Sundays at Place Congo, or Congo Square, in New Orleans until 1843.[33] There are historical accounts of other music and dance gatherings elsewhere in the southern United States. Robert Palmer said of percussive slave music:

Usually such music was associated with annual festivals, when the year's crop was harvested and several days were set aside for celebration. As late as 1861, a traveler in North Carolina saw dancers dressed in costumes that included horned headdresses and cow tails and heard music provided by a sheepskin-covered "gumbo box", apparently a frame drum; triangles and jawbones furnished the auxiliary percussion. There are quite a few [accounts] from the southeastern states and Louisiana dating from the period 1820-1850. Some of the earliest [Mississippi] Delta settlers came from the vicinity of New Orleans, where drumming was never actively discouraged for very long and homemade drums were used to accompany public dancing until the outbreak of the Civil War.[34]

Another influence came from the harmonic style of hymns of the church, which black slaves had learned and incorporated into their own music as spirituals.[35] The origins of the blues are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as Gerhard Kubik points out, whereas the spirituals are homophonic, rural blues and early jazz "was largely based on concepts of heterophony."[36]

During the early 19th century an increasing number of black musicians learned to play European instruments, particularly the violin, which they used to parody European dance music in their own cakewalk dances. In turn, European-American minstrel show performers in blackface popularized the music internationally, combining syncopation with European harmonic accompaniment. In the mid-1800s the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. New Orleans was the main nexus between the Afro-Caribbean and African-American cultures.

African rhythmic retention

The "Black Codes" outlawed drumming by slaves, which meant that African drumming traditions were not preserved in North America, unlike in Cuba, Haiti, and elsewhere in the Caribbean. African-based rhythmic patterns were retained in the United States in large part through "body rhythms" such as stomping, clapping, and patting juba dancing.[37]

In the opinion of jazz historian Ernest Borneman, what preceded New Orleans jazz before 1890 was "Afro-Latin music", similar to what was played in the Caribbean at the time.[38] A three-stroke pattern known in Cuban music as tresillo is a fundamental rhythmic figure heard in many different slave musics of the Caribbean, as well as the Afro-Caribbean folk dances performed in New Orleans Congo Square and Gottschalk's compositions (for example "Souvenirs From Havana" (1859)). Tresillo is the most basic and most prevalent duple-pulse rhythmic cell in sub-Saharan African music traditions and the music of the African Diaspora.[39][40]

Tresillo is heard prominently in New Orleanssecond line music and in other forms of popular music from that city from the turn of the 20th century to present.[43] "By and large the simpler African rhythmic patterns survived in jazz ... because they could be adapted more readily to European rhythmic conceptions," jazz historian Gunther Schuller observed. "Some survived, others were discarded as the Europeanization progressed."[44]

In the post-Civil War period (after 1865), African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures.[45] This was a drumming tradition that was distinct from its Caribbean counterparts, expressing a uniquely African-American sensibility. "The snare and bass drummers played syncopated cross-rhythms," observed the writer Robert Palmer (writer), speculating that "this tradition must have dated back to the latter half of the nineteenth century, and it could have not have developed in the first place if there hadn't been a reservoir of polyrhythmic sophistication in the culture it nurtured."[46]

"Spanish tinge"--the Afro-Cuban rhythmic influence

African-American music began incorporating Afro-Cuban rhythmic motifs in the 19th century when the habanera (Cuban contradanza) gained international popularity.[47] Musicians from Havana and New Orleans would take the twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera "reached the U.S. twenty years before the first rag was published."[48] For the more than quarter-century in which the cakewalk, ragtime, and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music.[49]

Habaneras were widely available as sheet music and were the first written music which was rhythmically based on an African motif (1803).[50] From the perspective of African-American music, the habanera rhythm (also known as congo,[51]tango-congo,[52] or tango.[53]) can be thought of as a combination of tresillo and the backbeat.[54] The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States and reinforced and inspired the use of tresillo-based rhythms in African-American music.

Habanera rhythm written as a combination of tresillo (bottom notes) with the backbeat (top note). Play(help·info)

New Orleans native Louis Moreau Gottschalk's piano piece "Ojos Criollos (Danse Cubaine)" (1860) was influenced by the composer's studies in Cuba: the habanera rhythm is clearly heard in the left hand.[55] In Gottschalk's symphonic work "A Night in the Tropics" (1859), the tresillo variant cinquillo appears extensively.[56] The figure was later used by Scott Joplin and other ragtime composers.

Comparing the music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans "clave", a Spanish word meaning 'code' or 'key', as in the key to a puzzle, or mystery.[57] Although technically the pattern is only half a clave, Marsalis makes the point that the single-celled figure is the guide-pattern of New Orleans music. Jelly Roll Morton called the rhythmic figure the Spanish tinge and considered it an essential ingredient of jazz.[58]

1890s-1910s

Ragtime

The abolition of slavery in 1865 led to new opportunities for the education of freed African Americans. Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide entertainment in dances, minstrel shows, and in vaudeville, during which time many marching bands were formed. Black pianists played in bars, clubs, and brothels, as ragtime developed.[59][60]

Ragtime appeared as sheet music, popularized by African-American musicians such as the entertainer Ernest Hogan, whose hit songs appeared in 1895. Two years later, Vess Ossman recorded a medley of these songs as a banjo solo known as "Rag Time Medley".[61][62] Also in 1897, the white composer William H. Krell published his "Mississippi Rag" as the first written piano instrumental ragtime piece, and Tom Turpin published his "Harlem Rag", the first rag published by an African-American.

The classically trained pianist Scott Joplin produced his "Original Rags" in 1898 and, in 1899, had an international hit with "Maple Leaf Rag", a multi-strain ragtime march with four parts that feature recurring themes and a bass line with copious seventh chords. Its structure was the basis for many other rags, and the syncopations in the right hand, especially in the transition between the first and second strain, were novel at the time.[63]

African-based rhythmic patterns such as tresillo and its variants, the habanera rhythm and cinquillo, are heard in the ragtime compositions of Joplin, Turpin, and others. Joplin's "Solace" (1909) is generally considered to be within the habanera genre:[51][65] both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a march rhythm. Ned Sublette postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk,"[66] whilst Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass."[67]

The African use of pentatonic scales contributed to the development of blue notes in blues and jazz.[70] As Kubik explains:

Many of the rural blues of the Deep South are stylistically an extension and merger of basically two broad accompanied song-style traditions in the west central Sudanic belt:

A strongly Arabic/Islamic song style, as found for example among the Hausa. It is characterized by melisma, wavy intonation, pitch instabilities within a pentatonic framework, and a declamatory voice.

An ancient west central Sudanic stratum of pentatonic song composition, often associated with simple work rhythms in a regular meter, but with notable off-beat accents (1999: 94).[71]

W. C. Handy: early published blues

WC Handy age 19, 1892

W. C. Handy became intrigued by the folk blues of the Deep South whilst traveling through the Mississippi Delta. In this folk blues form, the singer would improvise freely within a limited melodic range, sounding like a field holler, and the guitar accompaniment was slapped rather than strummed, like a small drum which responded in syncopated accents, functioning as another "voice".[72] Handy and his band members were formally trained African-American musicians who had not grown up with the blues, yet he was able to adapt the blues to a larger band instrument format and arrange them in a popular music form.

Handy wrote about his adopting of the blues:

The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man. I tried to convey this effect ... by introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key was major ..., and I carried this device into my melody as well.[73]

The publication of his "Memphis Blues" sheet music in 1912 introduced the 12-bar blues to the world (although Gunther Schuller argues that it is not really a blues, but "more like a cakewalk"[74]). This composition, as well as his later "St. Louis Blues" and others, included the habanera rhythm,[75] and would become jazz standards. Handy's music career began in the pre-jazz era and contributed to the codification of jazz through the publication of some of the first jazz sheet music.

Within the context of Western harmony

The blues form which is ubiquitous in jazz is characterized by specific chord progressions, of which the twelve-bar blues progression is the most common. Basic blues progressionions are based on the I, IV and V chords (often called the "one", "four" and "five" chords). An important part of the sound are the microtonal blue notes which, for expressive purposes, are sung or played flattened (thus "between" the notes on a piano), or gradually "bent" (minor third to major third) in relation to the pitch of the major scale. The blue notes opened up an entirely new approach to Western harmony, ultimately leading to a high level of harmonic complexity in jazz.[]

New Orleans

The music of New Orleans had a profound effect on the creation of early jazz. The reason why jazz is mainly associated with New Orleans is due to the slaves being able to practice elements of their culture such as voodoo, and they were also allowed drums.[76] Many early jazz performers played in venues throughout the city, such as the brothels and bars of the red-light district around Basin Street, known as "Storyville".[77] In addition to dance bands, there were numerous marching bands who played at lavish funerals (later called jazz funerals), which were arranged by the African-American and European-American communities. The instruments used in marching bands and dance bands became the basic instruments of jazz: brass, reeds tuned in the European 12-tone scale, and drums. Small bands which mixed self-taught and well-educated African-American musicians, many of whom came from the funeral procession tradition of New Orleans, played a seminal role in the development and dissemination of early jazz. These bands travelled throughout Black communities in the Deep South and, from around 1914 onwards, Afro-Creole and African-American musicians played in vaudeville shows which took jazz to western and northern US cities.[78]

In New Orleans, a white marching band leader named Papa Jack Laine integrated blacks and whites in his marching band. Laine was known as "the father of white jazz" because of the many top players who passed through his bands (including George Brunies, Sharkey Bonano and the future members of the Original Dixieland Jass Band). Laine was a good talent scout. During the early 1900s, jazz was mostly done in the African-American and mulatto communities, due to segregation laws. The red light district of Storyville, New Orleans was crucial in bringing jazz music to a wider audience via tourists who came to the port city.[79] Many jazz musicians from the African-American communities were hired to perform live music in brothels and bars, including many early jazz pioneers such as Buddy Bolden and Jelly Roll Morton, in addition to those from New Orleans other communities such as Lorenzo Tio and Alcide Nunez. Louis Armstrong also got his start in Storyville[80] and would later find success in Chicago (along with others from New Orleans) after the United States government shut down Storyville in 1917.[81]

Syncopation

The cornetist Buddy Bolden led a band who are often mentioned as one of the prime originators of the style later to be called "jazz". He played in New Orleans around 1895-1906, before developing a mental illness; there are no recordings of him playing. Bolden's band is credited with creating the big four, the first syncopated bass drum pattern to deviate from the standard on-the-beat march.[82] As the example below shows, the second half of the big four pattern is the habanera rhythm.

Morton published "Jelly Roll Blues" in 1915, the first jazz work in print.

Afro-Creole pianist Jelly Roll Morton began his career in Storyville. From 1904, he toured with vaudeville shows around southern cities, also playing in Chicago and New York. In 1905, he composed his "Jelly Roll Blues", which on its publication in 1915 became the first jazz arrangement in print, introducing more musicians to the New Orleans style.[84]

Morton considered the tresillo/habanera (which he called the Spanish tinge) to be an essential ingredient of jazz.[85] In his own words:

Now in one of my earliest tunes, "New Orleans Blues," you can notice the Spanish tinge. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz.[58]

Morton was a crucial innovator in the evolution from the early jazz form known as ragtime to jazz piano, and could perform pieces in either style; in 1938, Morton made a series of recordings for the Library of Congress, in which he demonstrated the difference between the two styles. Morton's solos, however, were still close to ragtime, and were not merely improvisations over chord changes as in later jazz, but his use of the blues was of equal importance.

Swing in the early 20th century

Morton loosened ragtime's rigid rhythmic feeling, decreasing its embellishments and employing a swing feeling.[86] Swing is the most important and enduring African-based rhythmic technique used in jazz. An oft quoted definition of swing by Louis Armstrong is: "if you don't feel it, you'll never know it."[87]The New Harvard Dictionary of Music states that swing is: "An intangible rhythmic momentum in jazz ... Swing defies analysis; claims to its presence may inspire arguments." The dictionary does nonetheless provide the useful description of triple subdivisions of the beat contrasted with duple subdivisions:[88] swing superimposes six subdivisions of the beat over a basic pulse structure or four subdivisions. This aspect of swing is far more prevalent in African-American music than in Afro-Caribbean music. One aspect of swing, which is heard in more rhythmically complex Diaspora musics, places strokes in-between the triple and duple-pulse "grids".[89]

New Orleans brass bands are a lasting influence, contributing horn players to the world of professional jazz with the distinct sound of the city whilst helping black children escape poverty. The leader of New Orleans' Camelia Brass Band, D'Jalma Ganier, taught Louis Armstrong to play trumpet; Armstrong would then popularize the New Orleans style of trumpet playing, and then expand it. Like Jelly Roll Morton, Armstrong is also credited with the abandonment of ragtime's stiffness in favor of swung notes. Armstrong, perhaps more than any other musician, codified the rhythmic technique of swing in jazz and broadened the jazz solo vocabulary.[90]

Sheet music for "Livery Stable Blues"/"Barnyard Blues" by the Original Dixieland Jazz Band, Leo Feist, Inc., New York, copyright 1917.

In Ohio and elsewhere in the midwest the major influence was ragtime, until about 1919. Around 1912, when the four-string banjo and saxophone came in, musicians began to improvise the melody line, but the harmony and rhythm remained unchanged. A contemporary account states that blues could only be heard in jazz in the gut-bucket cabarets, which were generally looked down upon by the Black middle-class.[103]

1920s and 1930s

Jazz Age

The King & Carter Jazzing Orchestra photographed in Houston, Texas, January 1921.

From 1920 to 1933, Prohibition in the United States banned the sale of alcoholic drinks, resulting in illicit speakeasies which became lively venues of the "Jazz Age", hosting popular music including current dance songs, novelty songs, and show tunes. Jazz began to get a reputation as being immoral, and many members of the older generations saw it as threatening the old cultural values and promoting the new decadent values of the Roaring 20s. Professor Henry van Dyke of Princeton University wrote: "... it is not music at all. It's merely an irritation of the nerves of hearing, a sensual teasing of the strings of physical passion."[104] The media too began to denigrate jazz. The New York Times used stories and headlines to pick at jazz: Siberian villagers were said by the paper to have used jazz to scare off bears when, in fact, they had used pots and pans; another story claimed that the fatal heart attack of a celebrated conductor was caused by jazz.[104]

Despite its Southern black origins, there was a larger market for jazzy dance music played by white orchestras. In 1918, Paul Whiteman and his orchestra became a hit in San Francisco, California, signing with Victor Talking Machine Company in 1920 and becoming the top bandleader of the 1920s, giving "hot jazz" a white component, hiring white musicians including Bix Beiderbecke, Jimmy Dorsey, Tommy Dorsey, Frankie Trumbauer, and Joe Venuti. In 1924, Whiteman commissioned Gershwin's Rhapsody in Blue, which was premiered by his orchestra and jazz began to be recognized as a notable musical form. Olin Downes, reviewing the concert in The New York Times: "This composition shows extraordinary talent, as it shows a young composer with aims that go far beyond those of his ilk, struggling with a form of which he is far from being master.... In spite of all this, he has expressed himself in a significant and, on the whole, highly original form.... His first theme ... is no mere dance-tune ... it is an idea, or several ideas, correlated and combined in varying and contrasting rhythms that immediately intrigue the listener."[108]

After Whiteman's band successfully toured Europe, huge hot jazz orchestras in theater pits caught on with other whites, including Fred Waring, Jean Goldkette, and Nathaniel Shilkret. Whiteman's success was based on a "rhetoric of domestication" according to which he had elevated and rendered valuable (read "white") a previously inchoate (read "black") kind of music.[109]

In 1924, Louis Armstrong joined the Fletcher Henderson dance band for a year, as featured soloist. The original New Orleans style was polyphonic, with theme variation and simultaneous collective improvisation. Armstrong was a master of his hometown style, but by the time he joined Henderson's band, he was already a trailblazer in a new phase of jazz, with its emphasis on arrangements and soloists. Armstrong's solos went well beyond the theme-improvisation concept and extemporized on chords, rather than melodies. According to Schuller, by comparison, the solos by Armstrong's bandmates (including a young Coleman Hawkins), sounded "stiff, stodgy," with "jerky rhythms and a grey undistinguished tone quality."[111] The following example shows a short excerpt of the straight melody of "Mandy, Make Up Your Mind" by George W. Meyer and Arthur Johnston (top), compared with Armstrong's solo improvisations (below) (recorded 1924).[112] (The example approximates Armstrong's solo, as it doesn't convey his use of swing.)

Also in the 1920s Skiffle, jazz played with homemade instruments such as washboard, jugs, musical saw, kazoos, etc. began to be recorded in Chicago, Ill., later merging with country music.

Armstrong's solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson's group, Armstrong formed his virtuosic Hot Five band, where he popularized scat singing.[113]

Swing was also dance music. It was broadcast on the radio "live" nightly across America for many years, especially by Earl Hines and his Grand Terrace Cafe Orchestra broadcasting coast-to-coast from Chicago[115] (well placed for "live" US time-zones).

Over time, social strictures regarding racial segregation began to relax in America: white bandleaders began to recruit black musicians and black bandleaders white ones. In the mid-1930s, Benny Goodman hired pianist Teddy Wilson, vibraphonist Lionel Hampton and guitarist Charlie Christian to join small groups. In the 1930s, Kansas City Jazz as exemplified by tenor saxophonist Lester Young (inventor of much of hipster jargon) marked the transition from big bands to the bebop influence of the 1940s. An early 1940s style known as "jumping the blues" or jump blues used small combos, uptempo music and blues chord progressions, drawing on boogie-woogie from the 1930s.

Beginnings of European jazz

As only a limited number of American jazz records were released in Europe, European jazz traces many of its roots to American artists such as James Reese Europe, Paul Whiteman, and Lonnie Johnson, who visited Europe during and after World War I. It was their live performances which inspired European audiences' interest in jazz, as well as the interest in all things American (and therefore exotic) which accompanied the economic and political woes of Europe during this time.[116] The beginnings of a distinct European style of jazz began to emerge in this interwar period.

This distinct style entered full swing in France with the Quintette du Hot Club de France, which began in 1934. Much of this French jazz was a combination of African-American jazz and the symphonic styles in which French musicians were well-trained; in this, it is easy to see the inspiration taken from Paul Whiteman since his style was also a fusion of the two.[117] Belgian guitar virtuoso Django Reinhardt popularized gypsy jazz, a mix of 1930s American swing, French dance hall "musette" and Eastern European folk with a languid, seductive feel; the main instruments are steel stringed guitar, violin, and double bass, and solos pass from one player to another as the guitar and bass play the role of the rhythm section. Some music researchers hold that it was Philadelphia's Eddie Lang and Joe Venuti who pioneered the guitar-violin partnership typical of the genre,[118] which was brought to France after they had been heard live or on Okeh Records in the late 1920s.[119]

1940s and 1950s

"American music"--the influence of Ellington

Duke Ellington at the Hurricane Club (1943)

By the 1940s, Duke Ellington's music had transcended the bounds of swing, bridging jazz and art music in a natural synthesis. Ellington called his music "American Music" rather than jazz, and liked to describe those who impressed him as "beyond category."[120] These included many of the musicians who were members of his orchestra, some of whom are considered among the best in jazz in their own right, but it was Ellington who melded them into one of the most well-known jazz orchestral units in the history of jazz. He often composed specifically for the style and skills of these individuals, such as "Jeep's Blues" for Johnny Hodges, "Concerto for Cootie" for Cootie Williams (which later became "Do Nothing Till You Hear from Me" with Bob Russell's lyrics), and "The Mooche" for Tricky Sam Nanton and Bubber Miley. He also recorded songs written by his bandsmen, such as Juan Tizol's "Caravan" and "Perdido", which brought the "Spanish Tinge" to big-band jazz. Several members of the orchestra remained with him for several decades. The band reached a creative peak in the early 1940s, when Ellington and a small hand-picked group of his composers and arrangers wrote for an orchestra of distinctive voices who displayed tremendous creativity.[121]

Bebop

In the early 1940s, bebop-style performers began to shift jazz from danceable popular music toward a more challenging "musician's music." The most influential bebop musicians included saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, trumpeters Dizzy Gillespie and Clifford Brown, and drummer Max Roach. Divorcing itself from dance music, bebop established itself more as an art form, thus lessening its potential popular and commercial appeal.

... In 1943 I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Dizzy Gillespie runs in the trumpet section work. Two years later I read that that was 'bop' and the beginning of modern jazz ... but the band never made recordings.[122]

Dizzy Gillespie wrote:

... People talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new. It was not. The music evolved from what went before. It was the same basic music. The difference was in how you got from here to here to here ... naturally each age has got its own shit.[123]

Rhythm

Since bebop was meant to be listened to, not danced to, it could use faster tempos. Drumming shifted to a more elusive and explosive style, in which the ride cymbal was used to keep time while the snare and bass drum were used for accents. This led to a highly syncopated music with a linear rhythmic complexity.[124]

Harmony

Charlie Parker, Tommy Potter, Miles Davis, Max Roach (Gottlieb 06941)

Bebop musicians employed several harmonic devices which were not previously typical in jazz, engaging in a more abstracted form of chord-based improvisation. Bebop scales are traditional scales with an added chromatic passing note;[125] bebop also uses "passing" chords, substitute chords, and altered chords. New forms of chromaticism and dissonance were introduced into jazz, and the dissonant tritone (or "flatted fifth") interval became the "most important interval of bebop"[126] Chord progressions for bebop tunes were often taken directly from popular swing-era songs and reused with a new and more complex melody and/or reharmonized with more complex chord progressions to form new compositions, a practice which was already well-established in earlier jazz, but came to be central to the bebop style. Bebop made use of several relatively common chord progressions, such as blues (at base, I-IV-V, but often infused with ii-V motion) and 'rhythm changes' (I-VI-ii-V) - the chords to the 1930s pop standard "I Got Rhythm." Late bop also moved towards extended forms that represented a departure from pop and show tunes.

The harmonic development in bebop is often traced back to a transcendent moment experienced by Charlie Parker while performing "Cherokee" at Clark Monroe's Uptown House, New York, in early 1942:

I'd been getting bored with the stereotyped changes that were being used, ... and I kept thinking there's bound to be something else. I could hear it sometimes. I couldn't play it.... I was working over 'Cherokee,' and, as I did, I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I'd been hearing. It came alive--Parker.[127]

Auditory inclinations were the African legacy in [Parker's] life, reconfirmed by the experience of the blues tonal system, a sound world at odds with the Western diatonic chord categories. Bebop musicians eliminated Western-style functional harmony in their music while retaining the strong central tonality of the blues as a basis for drawing upon various African matrices.[128]

Samuel Floyd states that blues were both the bedrock and propelling force of bebop, bringing about three main developments:

A new harmonic conception, using extended chord structures that led to unprecedented harmonic and melodic variety.

A developed and even more highly syncopated, linear rhythmic complexity and a melodic angularity in which the blue note of the fifth degree was established as an important melodic-harmonic device.

The reestablishment of the blues as the music's primary organizing and functional principle.[124]

As Kubik explained:

While for an outside observer, the harmonic innovations in bebop would appear to be inspired by experiences in Western "serious" music, from Claude Debussy to Arnold Schoenberg, such a scheme cannot be sustained by the evidence from a cognitive approach. Claude Debussy did have some influence on jazz, for example, on Bix Beiderbecke's piano playing. And it is also true that Duke Ellington adopted and reinterpreted some harmonic devices in European contemporary music. West Coast jazz would run into such debts as would several forms of cool jazz, but bebop has hardly any such debts in the sense of direct borrowings. On the contrary, ideologically, bebop was a strong statement of rejection of any kind of eclecticism, propelled by a desire to activate something deeply buried in self. Bebop then revived tonal-harmonic ideas transmitted through the blues and reconstructed and expanded others in a basically non-Western harmonic approach. The ultimate significance of all this is that the experiments in jazz during the 1940s brought back to African-American music several structural principles and techniques rooted in African traditions[129]

These divergences from the jazz mainstream of the time initially met with a divided, sometimes hostile, response among fans and fellow musicians, especially established swing players, who bristled at the new harmonic sounds. To hostile critics, bebop seemed to be filled with "racing, nervous phrases".[130] But despite the initial friction, by the 1950s, bebop had become an accepted part of the jazz vocabulary.

Afro-Cuban jazz (cu-bop)

Machito (maracas) and his sister Graciella Grillo (claves)

Machito and Mario Bauza

The general consensus among musicians and musicologists is that the first original jazz piece to be overtly based in clave was "Tanga" (1943), composed by Cuban-born Mario Bauza and recorded by Machito and his Afro-Cubans in New York City. "Tanga" began as a spontaneous descarga (Cuban jam session), with jazz solos superimposed on top.[131]

This was the birth of Afro-Cuban jazz. The use of clave brought the African timeline, or key pattern, into jazz. Music organized around key patterns convey a two-celled (binary) structure, which is a complex level of African cross-rhythm.[132] Within the context of jazz, however, harmony is the primary referent, not rhythm. The harmonic progression can begin on either side of clave, and the harmonic "one" is always understood to be "one". If the progression begins on the "three-side" of clave, it is said to be in 3-2 clave. If the progression begins on the "two-side", its in 2-3 clave.[133]

Clave: Spanish for 'code,' or key,' as in the key to a puzzle. The antecedent half (three-side) consists of tresillo. The consequent half consists of two strokes (the two-side). Play(help·info)

Bobby Sanabria mentions several innovations of Machito's Afro-Cubans, citing them as the first band: to wed big band jazz arranging techniques within an original composition, with jazz oriented soloists utilizing an authentic Afro-Cuban based rhythm section in a successful manner; to explore modal harmony (a concept explored much later by Miles Davis and Gil Evans) from a jazz arranging perspective; and to overtly explore the concept of clave counterpoint from an arranging standpoint (the ability to weave seamlessly from one side of the clave to the other without breaking its rhythmic integrity within the structure of a musical arrangement). They were also the first band in the United States to publicly utilize the term Afro-Cuban as the band's moniker, thus identifying itself and acknowledging the West African roots of the musical form they were playing. It forced New York City's Latino and African-American communities to deal with their common West African musical roots in a direct way, whether they wanted to acknowledge it publicly or not.[134]

Dizzy Gillespie and Chano Pozo

Dizzy Gillespie, 1955

It was Mario Bauzá who introduced bebop innovator Dizzy Gillespie to the Cuban conga drummer and composer Chano Pozo. Gillespie and Pozo's brief collaboration produced some of the most enduring Afro-Cuban jazz standards. "Manteca" (1947) is the first jazz standard to be rhythmically based on clave. According to Gillespie, Pozo composed the layered, contrapuntalguajeos (Afro-Cuban ostinatos) of the A section and the introduction, while Gillespie wrote the bridge. Gillespie recounted: "If I'd let it go like [Chano] wanted it, it would have been strictly Afro-Cuban all the way. There wouldn't have been a bridge. I thought I was writing an eight-bar bridge, but ... I had to keep going and ended up writing a sixteen-bar bridge."[135] The bridge gave "Manteca" a typical jazz harmonic structure, setting the piece apart from Bauza's modal "Tanga" of a few years earlier.

Gillespie's collaboration with Pozo brought specific African-based rhythms into bebop. While pushing the boundaries of harmonic improvisation, cu-bop, as it was called, also drew more directly from African rhythmic structures. Jazz arrangements with a "Latin" A section and a swung B section, with all choruses swung during solos, became common practice with many "Latin tunes" of the jazz standard repertoire. This approach can be heard on pre-1980 recordings of "Manteca", "A Night in Tunisia", "Tin Tin Deo", and "On Green Dolphin Street".

African cross-rhythm

Mongo Santamaria (1969)

Cuban percussionist Mongo Santamaria first recorded his composition "Afro Blue" in 1959.[136] "Afro Blue" was the first jazz standard built upon a typical African three-against-two (3:2) cross-rhythm, or hemiola.[137] The song begins with the bass repeatedly playing 6 cross-beats per each measure of 12/8, or 6 cross-beats per 4 main beats--6:4 (two cells of 3:2). The following example shows the original ostinato "Afro Blue" bass line; the slashed noteheads indicate the main beats (not bass notes), where you would normally tap your foot to "keep time."

When John Coltrane covered "Afro Blue" in 1963, he inverted the metric hierarchy, interpreting the tune as a 3/4 jazz waltz with duple cross-beats superimposed (2:3). Originally a B?pentatonic blues, Coltrane expanded the harmonic structure of "Afro Blue."

Dixieland revival

In the late 1940s, there was a revival of "Dixieland" music, harking back to the original contrapuntal New Orleans style. This was driven in large part by record company reissues of early jazz classics by the Oliver, Morton, and Armstrong bands of the 1930s. There were two types of musicians involved in the revival: the first group was made up of those who had begun their careers playing in the traditional style and were returning to it (or continuing what they had been playing all along), such as Bob Crosby's Bobcats, Max Kaminsky, Eddie Condon, and Wild Bill Davison.[138] Most of these players were originally Midwesterners, although there were a small number of New Orleans musicians involved. The second group of revivalists consisted of younger musicians, such as those in the Lu Watters band, Conrad Janis, and Ward Kimball and his Firehouse Five Plus Two Jazz Band. By the late 1940s, Louis Armstrong's Allstars band became a leading ensemble. Through the 1950s and 1960s, Dixieland was one of the most commercially popular jazz styles in the US, Europe, and Japan, although critics paid little attention to it.[138]

Hard bop

Hard bop is an extension of bebop (or "bop") music which incorporates influences from rhythm and blues, gospel music and blues, especially in the saxophone and piano playing. Hard bop was developed in the mid-1950s, coalescing in 1953 and 1954; it developed partly in response to the vogue for cool jazz in the early 1950s and paralleled the rise of rhythm and blues. Miles Davis' 1954 performance of "Walkin'" at the first Newport Jazz Festival announced the style to the jazz world.[139] The quintet Art Blakey and the Jazz Messengers, fronted by Blakey and featuring pianist Horace Silver and trumpeter Clifford Brown, were leaders in the hard bop movement along with Davis.

Modal jazz

Modal jazz is a development which began in the later 1950s which takes the mode, or musical scale, as the basis of musical structure and improvisation. Previously, a solo was meant to fit into a given chord progression, but with modal jazz, the soloist creates a melody using one (or a small number of) modes. The emphasis is thus shifted from harmony to melody:[140] "Historically, this caused a seismic shift among jazz musicians, away from thinking vertically (the chord), and towards a more horizontal approach (the scale),"[141] explained pianist Mark Levine.

The modal theory stems from a work by George Russell. Miles Davis introduced the concept to the greater jazz world with Kind of Blue (1959), an exploration of the possibilities of modal jazz which would become the best selling jazz album of all time. In contrast to Davis' earlier work with hard bop and its complex chord progression and improvisation, the entire Kind of Blue album was composed as a series of "modal sketches", in which each performer was given a set of scales that defined the parameters of their improvisation and style.[142]

"I didn't write out the music for Kind of Blue, but brought in sketches for what everybody was supposed to play because I wanted a lot of spontaneity,"[143] recalled Davis. The track "So What" has only two chords: D-7 and E?-7.[144]

Other innovators in this style include Jackie McLean,[145] and two of the musicians who had also played on Kind of Blue: John Coltrane and Bill Evans.

By the 1950s, Afro-Cuban jazz had been using modes for at least a decade, as much of it borrowed from Cuban popular dance forms which are structured around multiple ostinatos with only a few chords. A case in point is Mario Bauza's "Tanga" (1943), the first Afro-Cuban jazz piece. Machito's Afro-Cubans recorded modal tunes in the 1940s, featuring jazz soloists such as Howard McGhee, Brew Moore, Charlie Parker, and Flip Phillips. However, there is no evidence that Davis or other mainstream jazz musicians were influenced by the use of modes in Afro-Cuban jazz, or other branches of Latin jazz.[clarification needed]

Free jazz

John Coltrane, 1963

Free jazz, and the related form of avant-garde jazz, broke through into an open space of "free tonality" in which meter, beat, and formal symmetry all disappeared, and a range of World music from India, Africa, and Arabia were melded into an intense, even religiously ecstatic or orgiastic style of playing.[146] While loosely inspired by bebop, free jazz tunes gave players much more latitude; the loose harmony and tempo was deemed controversial when this approach was first developed. The bassist Charles Mingus is also frequently associated with the avant-garde in jazz, although his compositions draw from myriad styles and genres.

A series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonics, utilization of overtones, and playing in the altissimo register, as well as a mutated return to Coltrane's sheets of sound. In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone. In addition, the quartet responded to the leader by playing with increasing freedom. The group's evolution can be traced through the recordings The John Coltrane Quartet Plays, Living Space and Transition (both June 1965), New Thing at Newport (July 1965), Sun Ship (August 1965), and First Meditations (September 1965).

In June 1965, Coltrane and 10 other musicians recorded Ascension, a 40-minute-long piece without breaks that included adventurous solos by young avante-garde musicians as well as Coltrane, and was controversial primarily for the collective improvisation sections that separated the solos. Dave Liebman later called it "the torch that lit the free jazz thing.". After recording with the quartet over the next few months, Coltrane invited Pharoah Sanders to join the band in September 1965. While Coltrane used over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument.

Free jazz in Europe

A shot from a 2006 performance by Peter Brötzmann, a key figure in European free jazz

Free jazz quickly found a foothold in Europe, in part because musicians such as Ayler, Taylor, Steve Lacy and Eric Dolphy spent extended periods there, and European musicians Michael Mantler, John Tchicai et al. traveled to the U.S. to learn it firsthand. A distinctive European contemporary jazz (often incorporating elements of free jazz but not limited to it) also flourished because of the emergence of European musicians such as Peter Brötzmann, John Surman, Zbigniew Namys?owski, Albert Mangelsdorff, Kenny Wheeler, and Mike Westbrook, who were anxious to develop new approaches reflecting their national and regional musical cultures and contexts. Since the 1960s, various creative centers of jazz have developed in Europe, such as the creative jazz scene in Amsterdam. Following the work of veteran drummer Han Bennink and pianist Misha Mengelberg, musicians started to explore free music by collectively improvising until a certain form (melody, rhythm, or even famous song) is found by the band. Jazz critic Kevin Whitehead documented the free jazz scene in Amsterdam and some of its main exponents such as the ICP (Instant Composers Pool) orchestra in his book New Dutch Swing. Since the 1990s Keith Jarrett has been prominent in defending free jazz from criticism by traditionalists.

1960s and 1970s

Latin jazz

Latin jazz is the term used to describe jazz which employs Latin American rhythms and is generally understood to have a more specific meaning than simply jazz from Latin America. A more precise term might be Afro-Latin jazz, as the jazz subgenre typically employs rhythms that either have a direct analog in Africa or exhibit an African rhythmic influence beyond what is ordinarily heard in other jazz. The two main categories of Latin jazz are Afro-Cuban jazz and Brazilian jazz.

In the 1960s and 1970s, many jazz musicians had only a basic understanding of Cuban and Brazilian music, and jazz compositions which used Cuban or Brazilian elements were often referred to as "Latin tunes", with no distinction between a Cuban son montuno and a Brazilian bossa nova. Even as late as 2000, in Mark Gridley's Jazz Styles: History and Analysis, a bossa nova bass line is referred to as a "Latin bass figure."[147] It was not uncommon during the 1960s and 1970s to hear a conga playing a Cuban tumbao while the drumset and bass played a Brazilian bossa nova pattern. Many jazz standards such as "Manteca", "On Green Dolphin Street" and "Song for My Father" have a "Latin" A section and a swung B section. Typically, the band would only play an even-eighth "Latin" feel in the A section of the head and swing throughout all of the solos. Latin jazz specialists like Cal Tjader tended to be the exception. For example, on a 1959 live Tjader recording of "A Night in Tunisia", pianist Vince Guaraldi soloed through the entire form over an authentic mambo.[148]

Afro-Cuban jazz

Afro-Cuban jazz often uses Afro-Cuban instruments such as congas, timbales, güiro, and claves, combined with piano, double bass, etc. Afro-Cuban jazz began with Machito's Afro-Cubans in the early 1940s, but took off and entered the mainstream in the late 1940s when bebop musicians such as Dizzy Gillespie and Billy Taylor began experimenting with Cuban rhythms. Mongo Santamaria and Cal Tjader further refined the genre in the late 1950s.

Although a great deal of Cuban-based Latin jazz is modal, Latin jazz is not always modal: it can be as harmonically expansive as post-bop jazz. For example, Tito Puente recorded an arrangement of "Giant Steps" done to an Afro-Cuban guaguancó. A Latin jazz piece may momentarily contract harmonically, as in the case of a percussion solo over a one or two-chord piano guajeo.

Guajeos

Guajeo is the name for the typical Afro-Cuban ostinato melodies which are commonly used motifs in Latin jazz compositions. They originated in the genre known as son. Guajeos provide a rhythmic and melodic framework that may be varied within certain parameters, whilst still maintaining a repetitive - and thus "danceable" - structure. Most guajeos are rhythmically based on clave (rhythm).

Guajeos are one of the most important elements of the vocabulary of Afro-Cuban descarga (jazz-inspired instrumental jams), providing a means of tension and resolution and a sense of forward momentum, within a relatively simple harmonic structure. The use of multiple, contrapuntal guajeos in Latin jazz facilitates simultaneous collective improvisation based on theme variation. In a way, this polyphonic texture is reminiscent of the original New Orleans style of jazz.

Afro-Cuban jazz renaissance

For most of its history, Afro-Cuban jazz had been a matter of superimposing jazz phrasing over Cuban rhythms. But by the end of the 1970s, a new generation of New York City musicians had emerged who were fluent in both salsa dance music and jazz, leading to a new level of integration of jazz and Cuban rhythms. This era of creativity and vitality is best represented by the Gonzalez brothers Jerry (congas and trumpet) and Andy (bass).[149] During 1974-1976, they were members of one of Eddie Palmieri's most experimental salsa groups: salsa was the medium, but Palmieri was stretching the form in new ways. He incorporated parallel fourths, with McCoy Tyner-type vamps. The innovations of Palmieri, the Gonzalez brothers and others led to an Afro-Cuban jazz renaissance in New York City.

This occurred in parallel with developments in Cuba[150] The first Cuban band of this new wave was Irakere. Their "Chékere-son" (1976) introduced a style of "Cubanized" bebop-flavored horn lines that departed from the more angular guajeo-based lines which were typical of Cuban popular music and Latin jazz up until that time. It was based on Charlie Parker's composition "Billie's Bounce", jumbled together in a way that fused clave and bebop horn lines.[151] In spite of the ambivalence of some band members towards Irakere's Afro-Cuban folkloric / jazz fusion, their experiments forever changed Cuban jazz: their innovations are still heard in the high level of harmonic and rhythmic complexity in Cuban jazz and in the jazzy and complex contemporary form of popular dance music known as timba.

Afro-Brazilian jazz

Brazilian jazz such as bossa nova is derived from samba, with influences from jazz and other 20th-century classical and popular music styles. Bossa is generally moderately paced, with melodies sung in Portuguese or English, whilst the related term jazz-samba describes an adaptation of street samba into jazz.

Brazilian percussionists such as Airto Moreira and Naná Vasconcelos also influenced jazz internationally by introducing Afro-Brazilian folkloric instruments and rhythms into a wide variety of jazz styles, thus attracting a greater audience to them.[152][153][154]

Post-bop

Post-bop jazz is a form of small-combo jazz derived from earlier bop styles. The genre's origins lie in seminal work by John Coltrane, Miles Davis, Bill Evans, Charles Mingus, Wayne Shorter, and Herbie Hancock. Generally, the term post-bop is taken to mean jazz from the mid-sixties onwards that assimilates influences from hard bop, modal jazz, the avant-garde and free jazz, without necessarily being immediately identifiable as any of the above.

Soul jazz

Soul jazz was a development of hard bop which incorporated strong influences from blues, gospel and rhythm and blues to create music for small groups, often the organ trio of Hammond organ, drummer and tenor saxophonist. Unlike hard bop, soul jazz generally emphasized repetitive grooves and melodic hooks, and improvisations were often less complex than in other jazz styles. It often had a steadier "funk" style groove, which was different from the swing rhythms typical of much hard bop.

African-inspired

Randy Weston

Themes

There was a resurgence of interest in jazz and other forms of African-American cultural expression during the Black Arts Movement and Black nationalist period of the 1960s and 1970s. African themes became popular, and many new jazz compositions were given African-related titles: "Black Nile" (Wayne Shorter), "Blue Nile" (Alice Coltrane), "Obirin African" (Art Blakey), "Zambia" (Lee Morgan), "Appointment in Ghana" (Jackie McLean), "Marabi" (Cannonball Adderley), "Yoruba" (Hubert Laws), and many more. Pianist Randy Weston's music incorporated African elements, such as in the large-scale suite "Uhuru Africa" (with the participation of poet Langston Hughes) and "Highlife: Music From the New African Nations." Both Weston and saxophonist Stanley Turrentine covered the Nigerian Bobby Benson's piece "Niger Mambo", which features Afro-Caribbean and jazz elements within a West African Highlife style. Some musicians, including Pharoah Sanders, Hubert Laws, and Wayne Shorter, began using African instruments such as kalimbas, bells, beaded gourds and other instruments which were not traditional to jazz.

Rhythm

During this period, there was an increased use of the typical African 12/8 cross-rhythmic structure in jazz. Herbie Hancock's "Succotash" on Inventions and Dimensions (1963) is an open-ended modal 12/8 improvised jam, in which Hancock's pattern of attack-points, rather than the pattern of pitches, is the primary focus of his improvisations, accompanied by Paul Chambers on bass, percussionist Osvaldo Martinez playing a traditional Afro-Cuban chekeré part and Willie Bobo playing an Abakuá bell pattern on a snare drum with brushes.

The first jazz standard composed by a non-Latino to use an overt African 12/8 cross-rhythm was Wayne Shorter's "Footprints" (1967).[155] On the version recorded on Miles Smiles by Miles Davis, the bass switches to a 4/4 tresillo figure at 2:20. "Footprints" is not, however, a Latin jazz tune: African rhythmic structures are accessed directly by Ron Carter (bass) and Tony Williams (drums) via the rhythmic sensibilities of swing. Throughout the piece, the four beats, whether sounded or not, are maintained as the temporal referent. In the example below, the main beats are indicated by slashed noteheads, which do not indicate bass notes.

Ron Carter's two main bass lines for "Footprints" by Wayner Shorter (1967). The main beats are indicated by slashed noteheads.

Pentatonic scales

The use of pentatonic scales was another trend associated with Africa. The use of pentatonic scales in Africa probably goes back thousands of years.[156]

McCoy Tyner perfected the use of the pentatonic scale in his solos,[157] and also used parallel fifths and fourths, which are common harmonies in West Africa.[158]

The minor pentatonic scale is often used in blues improvisation, and like a blues scale, a minor pentatonic scale can be played over all of the chords in a blues. The following pentatonic lick was played over blues changes by Joe Henderson on Horace Silver's "African Queen" (1965).[159]

Jazz pianist, theorist, and educator Mark Levine refers to the scale generated by beginning on the fifth step of a pentatonic scale as the V pentatonic scale.[160]

Levine points out that the V pentatonic scale works for all three chords of the standard II-V-I jazz progression.[161] This is a very common progression, used in pieces such as Miles Davis' "Tune Up." The following example shows the V pentatonic scale over a II-V-I progression.[162]

V pentatonic scale over II-V-I chord progression.

Accordingly, John Coltrane's "Giant Steps" (1960), with its 26 chords per 16 bars, can be played using only three pentatonic scales. Coltrane studied Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns, which contains material that is virtually identical to portions of "Giant Steps".[163] The harmonic complexity of "Giant Steps" is on the level of the most advanced 20th-century art music. Superimposing the pentatonic scale over "Giant Steps" is not merely a matter of harmonic simplification, but also a sort of "Africanizing" of the piece, which provides an alternate approach for soloing. Mark Levine observes that when mixed in with more conventional "playing the changes", pentatonic scales provide "structure and a feeling of increased space."[164]

Jazz fusion

In the late 1960s and early 1970s, the hybrid form of jazz-rock fusion was developed by combining jazz improvisation with rock rhythms, electric instruments and the highly amplified stage sound of rock musicians such as Jimi Hendrix and Frank Zappa. Jazz fusion often uses mixed meters, odd time signatures, syncopation, complex chords, and harmonies.

...until around 1967, the worlds of jazz and rock were nearly completely separate. [However, ...] as rock became more creative and its musicianship improved, and as some in the jazz world became bored with hard bop and did not want to play strictly avant-garde music, the two different idioms began to trade ideas and occasionally combine forces."[165]

Miles Davis' new directions

In 1969, Davis fully embraced the electric instrument approach to jazz with In a Silent Way, which can be considered his first fusion album. Composed of two side-long suites edited heavily by producer Teo Macero, this quiet, static album would be equally influential to the development of ambient music.

As Davis recalls:

The music I was really listening to in 1968 was James Brown, the great guitar player Jimi Hendrix, and a new group who had just come out with a hit record, "Dance to the Music", Sly and the Family Stone... I wanted to make it more like rock. When we recorded In a Silent Way I just threw out all the chord sheets and told everyone to play off of that."[166]

Psychedelic-jazz

Bitches Brew

Davis' Bitches Brew (1970) album was his most successful of this era. Although inspired by rock and funk, Davis' fusion creations were original and brought about a new type of avant-garde, electronic, psychedelic-jazz, as far from pop music as any other Davis work.

Weather Report

Weather Report's self-titled electronic and psychedelic Weather Report debut album caused a sensation in the jazz world on its arrival in 1971, thanks to the pedigree of the group's members (including percussionist Airto Moreira), and their unorthodox approach to music. The album featured a softer sound than would be the case in later years (predominantly using acoustic bass with Shorter exclusively playing soprano saxophone, and with no synthesizers involved), but is still considered a classic of early fusion. It built on the avant-garde experiments which Joe Zawinul and Shorter had pioneered with Miles Davis on Bitches Brew, including an avoidance of head-and-chorus composition in favour of continuous rhythm and movement - but took the music further. To emphasise the group's rejection of standard methodology, the album opened with the inscrutable avant-garde atmospheric piece "Milky Way", which featured by Shorter's extremely muted saxophone inducing vibrations in Zawinul's piano strings while the latter pedalled the instrument. Down Beat described the album as "music beyond category", and awarded it Album of the Year in the magazine's polls that year.

According to jazz writer Stuart Nicholson, "just as free jazz appeared on the verge of creating a whole new musical language in the 1960s ... jazz-rock briefly suggested the promise of doing the same" with albums such as Williams' Emergency! (1970) and Davis' Agharta (1975), which Nicholson said "suggested the potential of evolving into something that might eventually define itself as a wholly independent genre quite apart from the sound and conventions of anything that had gone before." This development was stifled by commercialism, Nicholson said, as the genre "mutated into a peculiar species of jazz-inflected pop music that eventually took up residence on FM radio" at the end of the 1970s.[168]

Jazz-funk

By the mid-1970s, the sound known as jazz-funk had developed, characterized by a strong back beat (groove), electrified sounds[169] and, often, the presence of electronic analog synthesizers. Jazz-funk also draws influences from traditional African music, Afro-Cuban rhythms and Jamaican reggae, notably Kingston bandleader Sonny Bradshaw. Another feature is the shift of emphasis from improvisation to composition: arrangements, melody and overall writing became important. The integration of funk, soul, and R&B music into jazz resulted in the creation of a genre whose spectrum is wide and ranges from strong jazz improvisation to soul, funk or disco with jazz arrangements, jazz riffs and jazz solos, and sometimes soul vocals.[170]

Early examples are Herbie Hancock's Headhunters band and Miles Davis' On the Corner album, which, in 1972, began Davis' foray into jazz-funk and was, he claimed, an attempt at reconnecting with the young black audience which had largely forsaken jazz for rock and funk. While there is a discernible rock and funk influence in the timbres of the instruments employed, other tonal and rhythmic textures, such as the Indian tambora and tablas and Cuban congas and bongos, create a multi-layered soundscape. The album was a culmination of sorts of the musique concrète approach that Davis and producer Teo Macero had begun to explore in the late 1960s.

1980s

... that jazz is hereby designated as a rare and valuable national American treasure to which we should devote our attention, support and resources to make certain it is preserved, understood and promulgated.

It passed in the House of Representatives on September 23, 1987, and in the Senate on November 4, 1987.[171]

Resurgence of traditionalism

Wynton Marsalis

The 1980s saw something of a reaction against the fusion and free jazz that had dominated the 1970s. Trumpeter Wynton Marsalis emerged early in the decade, and strove to create music within what he believed was the tradition, rejecting both fusion and free jazz and creating extensions of the small and large forms initially pioneered by artists such as Louis Armstrong and Duke Ellington, as well as the hard bop of the 1950s. It is debatable whether Marsalis' critical and commercial success was a cause or a symptom of the reaction against Fusion and Free Jazz and the resurgence of interest in the kind of jazz pioneered in the 1960s (particularly modal jazz and post-bop); nonetheless there were many other manifestations of a resurgence of traditionalism, even if fusion and free jazz were by no means abandoned and continued to develop and evolve.

For example, several musicians who had been prominent in the fusion genre during the 1970s began to record acoustic jazz once more, including Chick Corea and Herbie Hancock. Other musicians who had experimented with electronic instruments in the previous decade had abandoned them by the 1980s; for example, Bill Evans, Joe Henderson, and Stan Getz. Even the 1980s music of Miles Davis, although certainly still fusion, adopted a far more accessible and recognisably jazz-oriented approach than his abstract work of the mid-1970s, such as a return to a theme-and-solos approach.

A similar reaction took place against free jazz. According to Ted Gioia:

the very leaders of the avant garde started to signal a retreat from the core principles of Free Jazz. Anthony Braxton began recording standards over familiar chord changes. Cecil Taylor played duets in concert with Mary Lou Williams, and let her set out structured harmonies and familiar jazz vocabulary under his blistering keyboard attack. And the next generation of progressive players would be even more accommodating, moving inside and outside the changes without thinking twice. Musicians such as David Murray or Don Pullen may have felt the call of free-form jazz, but they never forgot all the other ways one could play African-American music for fun and profit.[177]

Pianist Keith Jarrett--whose bands of the 1970s had played only original compositions with prominent free jazz elements--established his so-called 'Standards Trio' in 1983, which, although also occasionally exploring collective improvisation, has primarily performed and recorded jazz standards. Chick Corea similarly began exploring jazz standards in the 1980s, having neglected them for the 1970s.

Smooth jazz

David Sanborn, 2008

In the early 1980s, a commercial form of jazz fusion called "pop fusion" or "smooth jazz" became successful, garnering significant radio airplay in "quiet storm" time slots at radio stations in urban markets across the U.S. This helped to establish or bolster the careers of vocalists including Al Jarreau, Anita Baker, Chaka Khan, and Sade, as well as saxophonists including Grover Washington, Jr., Kenny G, Kirk Whalum, Boney James, and David Sanborn. In general, smooth jazz is downtempo (the most widely played tracks are of 90-105 beats per minute), and has a lead melody-playing instrument (saxophone, especially soprano and tenor, and legato electric guitar are popular).

In his Newsweek article "The Problem With Jazz Criticism",[178]Stanley Crouch considers Miles Davis' playing of fusion to be a turning point that led to smooth jazz. Critic Aaron J. West has countered the often negative perceptions of smooth jazz, stating:

I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era. Instead, I argue that smooth jazz is a long-lived musical style that merits multi-disciplinary analyses of its origins, critical dialogues, performance practice, and reception.[179]

Acid jazz, nu jazz and jazz rap

Acid jazz developed in the UK in the 1980s and 1990s, influenced by jazz-funk and electronic dance music. Acid jazz often contains various types of electronic composition (sometimes including Sampling (music) or a live DJ cutting and scratching), but it is just as likely to be played live by musicians, who often showcase jazz interpretation as part of their performance. Jazz-funk musicians such as Roy Ayers and Donald Byrd are often credited as the forerunners of acid jazz.[180]

Though jazz rap had achieved little mainstream success, Miles Davis' final album Doo-Bop (released posthumously in 1992) was based around hip hop beats and collaborations with producer Easy Mo Bee. Davis' ex-bandmate Herbie Hancock also absorbed hip-hop influences in the mid-1990s, releasing the album Dis Is Da Drum in 1994.

In the 1990s, most M-Base participants turned to more conventional music, but Coleman, the most active participant, continued developing his music in accordance with the M-Base concept.[186] Coleman's audience decreased, but his music and concepts influenced many musicians,[187] both in terms of music technique[188] and of the music's meaning.[189] Hence, M-Base changed from a movement of a loose collective of young musicians to a kind of informal Coleman "school",[190] with a much advanced but already originally implied concept.[191]Steve Coleman's music and M-Base concept gained recognition as "next logical step" after Charlie Parker, John Coltrane, and Ornette Coleman.[192]

1990s-2010s

Since the 1990s, jazz has been characterized by a pluralism in which no one style dominates, but rather a wide range of active styles and genres are popular. Individual performers often play in a variety of styles, sometimes in the same performance. Pianist Brad Mehldau and power trioThe Bad Plus have explored contemporary rock music within the context of the traditional jazz acoustic piano trio, recording instrumental jazz versions of songs by rock musicians. The Bad Plus have also incorporated elements of free jazz into their music. A firm avant-garde or free jazz stance has been maintained by some players, such as saxophonists Greg Osby and Charles Gayle, while others, such as James Carter, have incorporated free jazz elements into a more traditional framework.

The mid-2010s have seen an increasing influence of R&B, hip-hop, and pop music on jazz. In 2015, Kendrick Lamar released his third studio album, To Pimp a Butterfly. The album heavily featured prominent contemporary jazz artists such as Thundercat[194] and redefined jazz rap with a larger focus on improvisation and live soloing rather than simply sampling. In that same year, saxophonist Kamasi Washington released his nearly three-hour long debut, The Epic. Its hip-hop inspired beats and R&B vocal interludes was not only acclaimed by critics for being innovative in keeping jazz relevant[195] but also sparked a small resurgence in jazz on the internet.

^"The primary instrument for a cultural music expression was a long narrow African drum. It came in various sized from three to eight feet long and had previously been banned in the South by whites. Other instruments used were the triangle, a jawbone, and early ancestors to the banjo. Many types of dances were performed in Congo Square, including the 'flat-footed-shuffle' and the 'Bamboula.'" African American Registry.

^Garrett, Charles Hiroshi (2008). Struggling to Define a Nation: American Music and the Twentieth Century, p.54. ISBN978-0-520-25486-2. Shown in common time and then in cut time with tied sixteenth & eighth note rather than rest.

^Sublette, Ned (2007), Cuba and Its Music: From the First Drums to the Mambo, p. 134. ISBN978-1-55652-632-9. Shown with tied sixteenth & eighth note rather than rest.

^Tucker 1995, p. 6 writes "He tried to avoid the word 'jazz' preferring 'Negro' or 'American' music. He claimed there were only two types of music, 'good' and 'bad' ... And he embraced a phrase coined by his colleague Billy Strayhorn - 'beyond category' - as a liberating principle."

^An ancient west central Sudanic stratum of pentatonic song composition, often associated with simple work rhythms in a regular meter, but with notable off-beat accents ... reaches back perhaps thousands of years to early West African sorgum agriculturalists--Kubik, Gerhard (1999: 95). Africa and the Blues. Jackson, MI: University Press of Mississippi.

^Pianist Vijay Iyer (who was chosen as "Jazz musician of the year 2010" by the Jazz Journalists Association) said: "It's hard to overstate Steve (Coleman's) influence. He's affected more than one generation, as much as anyone since John Coltrane." ([3])

^"His recombinant ideas about rhythm and form and his eagerness to mentor musicians and build a new vernacular have had a profound effect on American jazz." (Ben Ratliff, [4])

^Vijay Iyer: "It's not just that you can connect the dots by playing seven or 11 beats. What sits behind his influence is this global perspective on music and life. He has a point of view of what he does and why he does it." ([5])

Nairn, Charlie. 1975. Earl 'Fatha' HInes: 1 hour 'solo' documentary made in "Blues Alley" Jazz Club, Washington DC, for ATV, England, 1975: produced/directed by Charlie Nairn: original 16mm film plus out-takes of additional tunes from that film archived in British Film Institute Library at bfi.org.uk and http://www.itvstudios.com: DVD copies with Jean Gray Hargrove Music Library [who hold The Earl Hines Collection/Archive], University of California, Berkeley: also University of Chicago, Hogan Jazz Archive Tulane University New Orleans and Louis Armstrong House Museum Libraries.

Developed Strategies and Processes that Enabled Brands to Grow During an Economic Downturn.

Taught Advanced Internet Marketing Strategies at the graduate level.

Manage research, learning and skills at defaultLogic. Create an account using LinkedIn or facebook to manage and organize your IT knowledge. defaultLogic works like a shopping cart for information -- helping you to save, discuss and share.

Manage research, learning and skills at defaultLogic. Create an account using LinkedIn or facebook to manage and organize your IT knowledge. defaultLogic works like a shopping cart for information -- helping you to save, discuss and share.